Georgeann Wilson

The Sky, The Land, and The Talking Sticks

Well, I'm still on a bit of a sabbatical so here is another archive work of interest, from around 1982

Mark Montoya - some serious doodling!

While my skatboard work is not included in the current showing at Artery in North Portland, This image painted on three skateboard decks by friend and co-worker Mark Montoya is. A former grafitti artist and constant doodler, this showing in conjunction with the ARTISTS FROM BEAUTIFUL LOSERS exhibit represents Marks first public showing of his work. In addition to Mark's mixes media painting instalations, I am showing selected work from my recent drawing project Flow, and other current and former Katayama Framing employees Beau Gordon, Chris Mullins, Peter Murdoch and Vanessa Stockard are also on display.

Update! Marks boards remain on display at Artery and the recent exhibition of skateboard photography was covered by Skateboarder magazine Marks boards got some coverage at this site as well! http://www.skateboardermag.com/skateboarder-photos-videos/photos/flash/seen-of-change-art-show-portland/index.html

Artery is at
4114 N. Vancouver Ave
Portland, OR 97217

skateboard deck

This skateboard deck was manufactured by my friend Scott Moore from Subsonic Skateboards and I put this landscape of tree trunks sihlouetted against a gold leaf background onto it. Check out the Subsonic skateboard link. I also have some drawing from the work on paper "Flow" on view at "Artery" in North Portland, in conjunction with a show of work by artists featured in the "Beautiful Losers" documentary film. Featured there is skateboard artwork by another Portland colleague, Mark Montoya

The Tempest

Well, a bit of a stretch here to call this one poetic, but it is one of my pioneering pieces in the narrative vein so I will label it here to group it together with the other poetic narrative works. It's absurd humor and in your face crudness in the execution have always made this one a handful for many people to appreciate, and also made it one of my favourites! It features twin towers. I had seen the twin towers in Manhattan, and there are also a pair of towers in Century City in Los Angeles where I lived at the time. The towers in this painting aren't specific archcetectural features, I simply found the visual effect of identical twin scyscrapers a compelling visual and used them here to represent the harshness and isolation of the urban landscape. There is alot going on here with the factory puffing smog into the red sky and the artificial mountain in the backyard of the suburban house (think Disneyland) I suppose the Greek diety is going to blow it all away so that we can start anew? I worked on the study more as an independant doodle and saw all this as I contemplated what it might have been, and so found the path for the large painting you see here.


The Tempest
1983 acrylic on canvas
64 x 40



study
1982 acrylic, charcoal and collage on board
16 3/4 x 12 1/2

Update Watermelon Girl

Here is this painting as it stands so far. I haven't been working on it for awhile with too many other priorities distracting me from this calling, but i should be back at it soon

Never Trust the Fox

left panel
15 x 60

right panel
15 x 60

I can run I can I can. This is another painting that got bound up in my decade+ hiatus. During a brief time where I had a small studio in a single car garage at an apartment where I lived in 1991, I was able to work on three paintings. The right panel of this diptych was freshly begun when I stopped work and moved to new digs, where I was unable to manage a satisfactory work space. The dimensions of the canvas had been specific to cover the ugly backside of some kitchen cabinetry that faced out into the living room of that apartment. My oldest daughter was three when I stopped working on it. It was a well defined rough sketch at the time, and used it for decor on the walls of various bedrooms that my daughters shared throughout the next ten years or so. It was however far from a finished work. When I resumed work in 2002, I was met with serious protests from my girls, who had grown up with the unfinished painting as a part of their lives, and didn't appreciate the changes that it began to undergo. Free from the original constraints of covering the ugly cabinet work in a long forgotten apartment, I began to re think this project and decided to develop it further as a diptych with text elements, similar to the word paintings I had done in previous decades. In addition, I am now in the process of fabricating an ornate gilded picture frame with the title " Never Trust The Fox"carved onto it as a decorative element and a part of the conceptual foundation of the piece. The panels go together as a long, horizontal mirror image with the text on the left and the folk art styled image on the right

Oil on canvas
15 x 120
1991/2002/frame in progress